The Best Man

There are not many plays around right now that get to the heart of the tensions and conflicts of the political process in the way that, for example, Ink brilliantly dissects the world of print journalism. So it is very welcome to see a drama presented that is not only a European premiere, but also one that has lost none of its insight and incisive cynical commentary on American elections even in the wake of The West Wing and the outcome of the 2016 electoral cycle where reality ultimately outdid art in unexpected plot twists.

The Best Man dates from 1964 when Vidal was at the peak of his powers as a social commentator and novelist. It is the only one of his plays that has lasted, but it is a sophisticated not a journeyman work, and stuffed with reflections on his experiences near to the heart of the Kennedy Camelot voiced through a well contrasted group of political operatives gathered at a nominating convention from which only one of them can emerge victorious. It is a clash of ideologies as much as personalities, with former Secretary of State, William Russell (Martin Shaw) pitted against southern senator Joseph Cantwell (Jeff Fahey). Russell is an intellectual in politics, modelled on Adlai Stevenson; whereas Cantwell is a ruthless opportunist and populist modelled in part on Richard Nixon and partly on Bobbie Kennedy. Russell has scruples and sees shades of grey where Cantwell sees none.

It is an open, split convention and much of the action revolves around the manoeuvres by which the candidates and their staff seek to gain advantage over the other side and how far they are prepared to go in the process. Where does legitimate seeking of advantage shade into graft and criminality? The plot keeps us guessing, and the psychological twists and ploys are very plausible in political and human terms.

Martin Shaw could project his words better at times, but as the still moral centre of the drama he projects integrity and a fine grained ethical sense with aplomb. Jeff Fahey captures his character’s menace and monomania aptly while not forgetting the political savvy too. Most startling among the men is Jack Shepherd as a former President and wannabe kingmaker, another figure with a real-life model – Harry Truman. As a pragmatist gravitating between the two candidates this performance is compelling and also very funny. There is a shrewdness here about both politics and human nature, a sense of politics as both a game and a battle of ideas and ideals, that acts as a conscience for the audience. It is beautifully played.

We have a battle of the candidate’s wives too and two neatly contrasted performances from Glynis Barber and Honeysuckle Weeks, as Alice Russell and Mabel Cantwell. Barber is estranged from her husband but becomes more and more politically engaged and determined on her husband’s behalf as the play progresses; whereas Weeks is all winsome Southern charm and petty bitchiness to start with before also revealing an inner steel. Gemma Jones adds a powerful cameo as a political hostess whose own feisty intrigues belie the surface gender conservatism she espouses. The limitations, opportunities and contradictions available to political women in the 1960s are well displayed.

There is a realistic set which is switched deftly with a few decorative touches from one candidate’s hotel suite to the others. Costumes have a neat period touch and director Simon Evans keeps things moving fluently in what could be a purely static setting. All in all this is a sterling production that fully deserves to come into the West End on the strength of its overall merits and the quality of the writing.

About The Author

Tim Hochstrasser is a historian teaching early modern intellectual and cultural history at the LSE. He has a long-standing commitment to the visual, musical and dramatic arts, and opera above all, as a unifying and inspiring vehicle for all of them.

Support Plays To See

We need sponsors in order to expand our network of contributors and our connections with theatres and cultural organisations around the world.

We are now able to accept credit/debit card donations directly from this site, with the security of PayPal. No sum is too small.

Thank you for your support!

Donate Today!

The Best Man

2017-10-09

4.0Reviewer's Rating

Playstosee.com is a showcase for talent, particularly young talent, allowing them a platform to share their knowledge and appreciation of drama, musicals, opera, comedy, cabaret, ballet and even the circus. Our reach is truly global so our reviewers have the pleasure of knowing that their reviews will be read by people around the world.

We need sponsors in order to expand our network of contributors and our connections with theatres and cultural organisations around the world.

No sum is too small.

To pledge a donation by cheque, select ‘Offline Donation’ below. For a donation via credit card, select the PayPal option – you do not actually need a PayPal account in order to make a credit card donation through PayPal.

Add 25% more to your donation at no cost to you. A Gift Aid declaration allows Plays To See to claim tax back on eligible donations. It means that for every £1 you donate to Plays To See we can claim back 25p, at no extra cost to you.

By ticking the "Yes" box, I agree I would like Plays To See to reclaim the tax on all qualifying donations I have made, as well as any future donations, until I notify them otherwise. I understand that if I pay less Income Tax and/or Capital Gains Tax than the amount of Gift Aid claimed on all my donations in that tax year I may be asked to pay any difference. I understand that Plays To See will reclaim 25p of tax on every £1 that I give.

What is Gift Aid?

Gift Aid does not cost you a penny more, but can add an additional 25p to every £1 you donate. When Plays To See receives a donation from a UK taxpayer, we're entitled to claim an amount of tax (calculated at the basic rate of income tax in that year) paid on that donation. Once you have given your permission for us to do this on your behalf, there is no need for you to do anything else.

All that is required is that you must be a taxpayer and that would have paid or will pay sufficient Income and/or Capital Gains Tax to cover all the Gift Aid claimed on all your donations in that tax year. Please note that it is your responsibility to pay any difference.

The amount of tax we claim will be 25% of the total value of your donations in that tax year. Furthermore, if you are a higher taxpayer, you are also entitled to claim the difference between the basic rate which we will claim and the amount of tax you have actually paid. For further details on how you can do this, please contact your tax office. If your tax situation changes and your gifts will no longer be eligible for the Gift Aid scheme please contact us and we will amend your record accordingly.

This is the season of the year when I become increasingly reminded that going to some musical events can be just as dram...

Our Mission

Plays To See explores diverse cultures through the medium of the performing arts. It aims to promote interest in the theatre and foster dialogue, understanding and appreciation for different artistic productions around the world.
Our scope is wide-ranging, from Greek tragedy to stand-up comedy; from ballet and opera to mime and experimental theatre.